Note: This text summarizes the expectations of an online project by the Washington Post, which is no longer active. The project is worth keeping in mind as a stepping stone and experiment to develop interesting tools for Web 2.0
The Washington Post Co. has launched a new site called Post Remix, described as “the Post’s official mashup center.” Available at http://blogs.washingtonpost.com/post_remix, Post Remix spotlights reader creativity with both washingtonpost.com RSS feeds and other streams of content The Post is making available. The site launched around mid-November, and that’s been plenty of time for interesting content to appear on it. A blog format provides an overview of reader-submitted projects, ordered by date. Among the spotlighted applications are a site that offers Amazon.com book suggestions based on washingtonpost.com content, automated text-to-speech podcasts of Post stories, and a “Tag Cloud” overview of washingtonpost.com content. All these applications use RSS feeds of washingtonpost.com content.
We are being hosted by CEOs for Cities member Doug Kridler at The Columbus Foundation this afternoon. Thirty locals from business, health care, nonprofits, government, and philanthropy have gathered to work through Charlie’s ideas using their own experiences.
Charlie has gone right to the point: How do you orchestrate contributions by large numbers of people to solve problems? Is it possible to attack the opportunities and challenges the way Google or
eBay would attack them?
Think of an egg. For any issue area, there is a small core of that egg that represents the institution, such as police, schools, hospitals, performing arts centers. But the rest of that egg is outside the institution – learning, safety, health, culture. While the institution is fixed cost and hierarchical with budgets and
buildings, the rest of the egg is fuzzy and distributed and complex.
Update as of 8/13/10. The revised version of this text is now available online as Remix Theory post 444.
Update as of 4/29/10: This text has been revised for the book publication Mashup Cultures. In the revised print version, I introduce a series of new terms along with a diagram. The 2007 draft is shared below in the tradition of online sharing. The final argument while it has not necessarily changed is more precise in the revised print version, which I encourage those interested to read.
Today, sampling is practiced in new media culture when any software users including creative industry professionals as well as average consumers apply cut/copy & paste in diverse software applications; for professionals this could mean 3-D modeling software like Maya (used to develop animations in films like Spiderman or Lord of the Rings );[1] and for average persons it could mean Microsoft Word, often used to write texts like this one. Cut/copy & paste is a vital new media feature in the development of Remix. In Web 2.0 applications cut/copy & paste is a necessary element to develop mashups; yet the cultural model of mashups is not limited to software, but spans across media. Mashups actually have roots in sampling principles that were first initiated in music culture around the seventies with the growing popularity of music remixes in disco and hip hop culture; and even though mashups are founded on principles initially explored in music they are not always remixes if we think of remixes as allegories. This is important to entertain because, at first, Remix appears to extend repetition of forms in media, in repressive fashion; but the argument in this paper is that when mashups move beyond basic remix principles a constructive rupture develops that shows possibilities for new forms of cultural production that question standard commercial practice.
Based on extensive fieldwork in Tijuana, San Diego, Los Angeles, and Mexico City, this article explores the intersections of identity, modernity, desire, and marginality in the production, distribution, and transnational consumption of Nor-tec music. Tijuana musicians developed Nor-tec by combining sounds sampled from traditional music of the north of Mexico (conjunto norteno and banda) with compositional techniques borrowed from techno music. The resulting style reflects the current re-elaboration of tradition in relation to imaginary articulations of modernity that takes place in Tijuana’s youth border culture.
Note: The following is an announcement of Vague Terrain’s latest issue, in which I’m very happy to be a contributor. Make sure to also peruse their previous releases on Minimalism, Locative Media and Generative Art among others.
Announcement:
The latest edition of the Toronto based digital arts quarterly vagueterrain.net is now live. The issue, vague terrain 07: sample culture is a provocative exploration of contemporary sampling of sound, image and information. This body of work examines the remix as a critical practice while addressing broader issues of ownership and intellectual property.
Vague terrain 07: sample culture contains work from: brad collard, christian marc schmidt, defasten, des cailloux et du carbone, [dNASAb], eduardo navas, eskaei, freida abtan, jakob thiesen, jennifer a. machiorlatti, jeremy rotsztain, noah pred, ortiz, rebekah farrugia, and an interview with ezekiel honig conducted by evan saskin.
This text considers the position of the “collaborator†as defined by Walter Benjamin in the first half of the twentieth century in relation to the blogger at the beginning of the twenty-first. The text considers the concept of anarcho-communism and the role of the gift economy in online culture as defined by Richard Barbrook to better understand the critical position of bloggers.
Revisado, Enero 2007. Publicado originalmente en Netartreview, Marzo 2005.
Este texto fue publicado en Abril del 2007 en la publicación Installando/Installing, editada por el Colectivo Chileno Troyano.
Abstracto:
Este texto considera la posición crÃtica del “colaborador†de acuerdo a Walter Benjamin durante la primera parte del siglo veinte en relación al bloger al princÃpio del siglo veinte-uno. El texto considera el concepto del anarco-comunismo y el papel que juega el intercambio de regalos en comunidades virtuales de acuerdo a Richard Barbrook, para mejor entender la posición de los blogers en la cultura de la red. (more…)
When Paul Miller, aka DJ Spooky, says he thinks musicians should be able to remix samples of others’ clips into new works, he puts his money where his mouth is.
Miller is part of a group of musicians including Public Enemy’s Chuck D; Parliament Funkadelic’s George Clinton; and the band De La Soul who are allowing the public to mash up audio snippets from interviews they’ve given into submissions for a new remixing competition.
The Copyright Criminals Remix Contest, which is sponsored by the nonprofit copyright licensing organization Creative Commons, is all about promoting remixing culture and encouraging artists like Miller to make their work legally and affordably available for other musicians to manipulate.
Creative Commons has built a licensing system that allows content creators to decide which usage rights to their work to grant others. In every case, the licenses require attribution to the creator. Some allow users to manipulate licensed work for any non-commercial purpose, while others don’t. The ultimate point is to faciliate copyrights that are flexible on which rights users get.
Intro:
Some call it artistic musical creations, while others cry that it is blasphemy! It is all the rage in the U.K. and it has even gone mainstream, with MTV U.K. celebrating it on “MTV-Mash”. This new craze is called “mash-ups” and it involves taking the vocal from one song and joining it to the instrumental track of another. For instance, take a “mash-up” like “Paperback Believer”, which uses the musical track of the Monkees “I’m a Believer” with the vocals from The Beatles “Paperback Writer”.
Probably the best-known of the recent mash-up’s is the notorious “Grey Album” by Dangermouse, which mixed Jay-Z’s “Black Album” with The Beatles “White Album”. In February, when the record label EMI overreacted and blocked distribution of “The Grey Album” it pretty much created an instant hit.
And earlier this year, David Bowie had a contest in which he asked fans to create a new song using computer music software to blend or “mash up” two existing tracks – with the winner winning a car!
In my last post, I took a look at the recent proliferation of Web widgets, which are modular content and services that are making it easier for anyone to help themselves to the vast pool of high value functionality and information that resides on the Web today. Companies are actively “widgetizing” their online offerings so that it can actively be repurposed into other sites and online products. And as we discussed in the last post, it’s believed that letting users innovate with your online offerings by letting embedding them in their own Web sites, blogs, and applications can greatly broaden distribution and reach, leverage rapid viral propagation over the Internet, and fully exploit the raw creativity that theoretically lies in great quantities on the edge of our networks.
DIY on the Web is looking to be a major trend; Newsweek recently speculated that 2007 will be the Year of the Widget.
Looked at this way, letting thousands and even millions of users build Web sites and apps out of your Web parts and then monetizing it with advertising, usage fees, or subscriptions sounds great in the abstract. But one of the big outstanding questions is if widgitizing is mostly useful for gaining fast user adoption and market share, and not for building the fundamentals of a viable, long-term business online. While this last question is still very much an open one, part of the answer will come from the way that the consumption side of DIY develops. The question is this: Are environments emerging that will enable rich and sophisticated DIY scenarios that are usable by most people?
